What's New?: 6.11.2011

A wealth of stuff; let's get into it. . .




Uncle Tupelo — Anodyne (1993)

Re-acquisition, of sorts. I know I've known this album before, but I just can't honestly say if I've ever actually owned it (my Napster days are kind of hazy). In any case, I can honestly say that I didn't get it however long ago I first heard it. I think I checked it out because I was really into Yankee Hotel Foxtrot at the time and I wanted to dig deeper. I was just then getting into Neil Young for the Crazy Horse aspect of his music, so while I definitely was able to appreciate (and still do love) 'The Long Cut', things like 'Slate' and the (now I realize to be awesome) title track were completely lost on me. With contemporary ears, I hear a very solid, distinctly American, modern folk rock album. Very good stuff and I now feel like I need to dig into Jay Farrar's post-Tupelo work.

U2 — New Year's Day 7" single (1983)

Essentially purchased and graded for its b-side: 'Treasure (Whatever Happened to Pete the Chop).' A seriously rockin' tune, it's very much worthy of the rest of the War material from which it can be most certainly aligned with. Good stuff — I tacked it onto War as a bonus track and it fits right on.

Dream Command — Fire on the Moon (1990)

This is the MIGHTY Comsat Angels recording under a different band name through a series of convoluted events. Released only in America and Holland. I avoided this album for years, even as a huge Comsats fan, because of one main thing: this review. Just further proof that AMG may be an invaluable information source, but that their editorial portions should be taken with a grain of salt. I mean, sure, it's the Comsats going for a pretty dumbed down sound. But, honestly, besides the keyboards being mixed in a bit louder here, it's not all that different from Chasing Shadows. A revisit to Renascent's awesome To Before collection revealed an interesting new perspective of 'She's Invisible' 'Venus Hunter' and especially 'Ice Sculpture.' I mean, I can sit through this album just fine and hear plenty of characteristics that I love about the Comsats: Steve Fellows' plain, but expressive vocals, Kevin Bacon's distinctive basslines and an all around sense of great, but purposely sparse guitar playing. I actually like it. I mean, hell, the Cure have made worse records than this and they're universally more well-respected than the Comsats. It's a hell of a lot better than 7 Day Weekend, that's for sure.

Marvin Gaye — What's Going On deluxe edition (1971/1972)

So much has been said about this album —and specifically, its words— that I perhaps have taken it for granted over the years. Sure, I've always had it in some form (in fact, this purchase replaces my beat up old original vinyl) and it's always struck me as a pleasantly bleak experience, I don't know how much I really have been able to appreciate it on its own merits. Sure, I dig it. And its title track is one of the greatest pieces of American social commentary ever written, but I don't know. I guess I've always been kind of bitter that Marvin went on to make, speaking from a production point of view, two of the greatest albums of the 70's in its wake (Let's Get it On and I Want You) and those albums always take a back seat to this one because it's "important." Fuck that, if Bob Dylan can spit out ridiculous stream of conscious tone poems on Blonde on Blonde (an album I happen to love as well) after years of writing "important" music, then Marvin should also be able to delve inwards (in a more sensual way) and get just as many accolades. But whatever, the baggage is what it is. The music press has re-written this album into its place in popular music history as it has. I still love it and hearing it in the two mixes presented here —the originally released smoother mix and the rough around the edges "Detroit Mix"— definitely gives me a new perspective on the album. The extras beyond that are generally excellent. The "rhythm and strings" mix included at the end of disc one is so good, I can't even do it justice with words. Besides harmonies, it, if nothing else, singlehandedly makes one realize that it's more than the words that make this album great. The original single version of 'God is Love' is a dream come true for me, as that has always been my sleeper favorite on the album. It sounds like much more of a stock Motown production of the time, but slows the tune down so it lasts three full minutes. Rounding things out, you get a nearly full performance of the album live that is valuable for nothing else than Marvin just fucking with the band — and the band never faltering one bit. An earlier take of 'Flyin' High In the Friendly Sky' (titled here 'Sad Tomorrows') is great, while 'Head Title' is a very early demo for 'Distant Lover' and clearly points the direction to where Marvin was headed. Overall, I have a new perspective on this album and I like it even more after hearing this edition — which is the point, after all, isn't it?

Marvin Gaye — I Want You deluxe edition (1976)

Just godlike status, basically. The title track on this album is one of the greatest songs ever written. Funk rock fuzz guitar swirling badass manifesto. Goddamn perfection, basically. I've always loved it. Always will. The "Vocal and Rhythm" mix presented here is just about as fucking revelatory as it gets for me. The song is such an amazingly swirling musical stew that its hard to forget one of the best singers of all time actually sang on it. But that version, if nothing else, illustrates how unique Marvin's arrangement skills were. He multi-tracked all the vocals on the song and he sounds downright incredible harmonizing with himself. Unbelievable. The instrumentals, alternate mixes and extended jams on the tunes give the listener a relevant insight into the sessions for the album and it's pretty darn interesting to hear how 'I Wanna Be Where You Are' originally started as a rambling six minute ode to Marvin's family — pretty much the antithesis of what most people would have surmised from the title. The two previously unheard songs —'You Are the Way You Are' and 'Is Anybody Thinking About Their Living?'— are fantastic. Overall, sheesh, why did I wait so long? Marvin's best album (yeah, I said it), finally given the proper treatment it deserved all along. Just alluringly good. Classic as they come and enhanced.

David Sylvian — Died in the Wool - Manafon Variations (2011)
I will review this properly in the next few days. . .

~Austin

What's New?: 5.27.2011

U2 — Under a Blood Red Sky (1983)

U2's first live album — and a good one too. The song selection is bit on the crowd pleasing side, but with the addition of two non-album songs ('Party Girl' and the especially great '11 O'clock Tick Tock') it really goes past being just for the die hard fans. The versions played here aren't very different from their studio counterparts, mostly just played a bit faster. The way Adam Clayton's bass is mixed in 'New Year's Day' finds him taking on an almost Peter Hook-ish tone, which doesn't necessarily work, but ultimately makes the song stick the most out of everything they play. Absolutely no surprises, but gosh darned good in any case.

Midnight Oil — Place Without a Postcard (1981)

Pretty standard pop/rock sound on this album. Glyn Johns' production is clean and no nonsense. The songs are probably better for it, although it does get a bit samey. No duds in the bunch though. And, as always, the band is political without sounding too preachy (I mean, anybody who gets as political as they do is inherently a little preachy). I really like the more introspective rocker 'Basement Flat' because it captures the lonely feeling of isolation that one often experiences in city living. Overall, it's a good indicator of the whole album. Of all the Midnight Oil albums I've checked out so far, it's by far the least assured as far as subject matter goes. Still, I dig it.

Jon Anderson — Olias of Sunhillow (1976)

It basically sounds like a super mellow Yes album. No guitar noodling from Steve Howe or ridiculously fast keyboard twinklings by Rick Wakeman. There is nothing here musically that you would not see coming if you are a Yes fan. I guess there's a lot to be gotten out of the story that accompanies the album, but I haven't really dug into that aspect of it (and don't really plan to, honestly). I like it mainly because it takes all the little short passages of really pretty bits from Tales from Topographic Oceans as its jumping off point and just gets really mellow and really tuneful. Jon Anderson sings about the same sort of "mystical" nonsense as always, but it's in his great tenor range, so it all sounds good. Like all good things Yes-related, it's best moments are most appreciated when you take the entire thing in. As a fan of 70's Yes, it certainly satisfies my appetite for more of that sound. But, on its own, not amazing or anything.

Midnight Oil — Diesel and Dust (1986)

All produced and super shiny sounding, but gosh ding dang, the songs are fancy, aren't they? 'Beds are Burning' is so popular your grandma probably likes it too. 'The Dead Heart' was the other big single off the album and it's good too, but I think what I was really surprised at was how strong the whole thing is. It actually reminds a lot of U2's the Joshua Tree because both this album and that album were made by bands who had recorded (and had hits, here and there) for years before really hitting it big and both albums had a surprisingly dark tone to them, especially considering how popular they became. But, where the Joshua Tree just gloomed up its entire second half, Diesel and Dust ends with the awesome jangly pep talk of a rocker 'Sometimes.' So yeah, really good mid-80's big budget guitar rock. And hooks. Did I mention there's hooks for days on this thing?

Midnight Oil — Blue Sky Mining (1990)

Probably my favorite of the band's albums I've checked out so far. It takes the "sophisticated arena rocker" guise that Diesel and Dust began and perfects it. Blue Sky Mining feels like it's their best fusing of the political and the introspective. The title track is case in point. The great follow up, the 12-string jangler 'Stars of Warburton', just ups the ante with probably the band's best hook ever and the rest of the album follow suit. Mid-tempo rockers with jangly undertones and layered, thoughtful production. Sure, its keyboard patches and guitar effects date it by now, but the material is so strong, that doesn't matter. To end with the yearning, haunting ballad 'Antarctica' is just excellent. Really good album. Totally scored a sweet clear blue vinyl copy, too.

~Austin

What's New?: 5.19.2011 Part One

All dollar bin finds. . .



Led Zeppelin — Led Zeppelin IV (a/k/a 'Zoso' a/k/a 'Untitled') (1971)

Technically a re-acquisition, but never really heard with contemporary ears (read on for the full story). This would be the unidentified grey spine on the top of today's scan. I've really had a tough go of things with Led Zeppelin, honestly. I bought up their entire discography when I was twenty because I worked at a used record store and felt like I should dress it, if I was going to play the part. Never really got into it, honestly. Soon learned about all the stealing (or "borrowing" if you prefer it that way) they did and just couldn't jive with the longhaired rockstar attitude mostly. Fast forward ten years and I'm a Fairport Convention fan and kind of a lonely guy, so I'm prone to musical chance taking. Zeppelin IV for a buck? Why not? And guess what? Despite the stealing, despite Robert Plant's still kind of annoying screamy voice, I like it. It fulfills that "rockin' out" urge that I get every so often. I found Zeppelin III (easily the band's most "folky" album — a sure fit for me) at a thrift store (for seventy seven cents, no less) a few months back, so I've been taking that in as well lately. And I genuinely like it. I guess I can look past all the "borrowing" and rockstar posturing and just appreciate this (and III) for just really solid albums of a bunch of guys sitting in the studio just vibing off the same creative wave. I've been very outspoken in the past about how much I couldn't stand these guys, but, all along, I've been too much of a classicist to fully subscribe to that. Overplayed as it may be, you really do have to marvel at the outright scope of 'Stairway to Heaven.' It's essentially the first "power ballad" if you would like to apply that term. 'The Battle of Evermore' is the highlight for me because it takes the folk rock explosion and legitimately translates it to the hard rock crowd. Good stuff. Surprisingly.

U2 — Boy (1980)

October (1981)

and War (1983)

I've had a go of it with u2 over the years, as well. If you look at what they were doing and when they were doing it, it should have been a no-brainer that I should be into them. But, as I got into them in retrospect, I always had a hard time separating the band from the early 8o's from the Bono-led behemoth that I knew from the early and mid-9o's. A mixtape from Dave a while back (awesomely subtitled 'The Lillywhite Years' and fully consisting of material from these three albums) put me into a different train of thought entirely. Sure, I knew 'I Will Follow' and 'Sunday Bloody Sunday' already. But what about 'An Cat Dubh' (and it's awesome segue into the equally awesome 'Into the Heart') or 'Stranger in a Strange Land' or even 'New Year's Day'? Yeah, I fucked up by judging the band by its contemporary output and not their roots. All three albums are just undeniably strong post-punk. The Edge's guitar —with all of its Mike Oldfield, John Martyn and Vini Reilly influences— is just ace throughout all three albums. And while I find that I like the first album the best, October seems to me to be very underrated. Because it's the most consistent of the three, by far, It lacks the gargantuan highlights of the two albums that surround it, but it's the more listenable of the three albums, that's for sure. Still, as solid as all this stuff is, I give the ultimate nod to the first album, just based on pure sound. Any album with a side one that strong has to be the best something. I still prefer Unforgettable Fire (and, to a lesser extent, Joshua Tree) to all of these albums. But good god damn, pleased as punch to finally have them around at my whim.

Midnight Oil — 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1983)

and Red Sails in the Sunset (1984)

I've long-avoided Midnight Oil for some reason or another. I have an early teen memory of watching Peter Garrett flail around like a madman on Saturday Night Live and thinking something along the lines of, "Australia must be weird." Who can say no to spending two dollars on a band you've wanted to check out for years? Certainly not I. 10 is a good record, but overwhelming. I mean, sheesh, it starts with the weird paranoia of 'Outside World' erupts into the schizo rock of 'Only the Strong' and then moves into the dark jangle of 'Short Memory.' And that's just the first three songs! It does have a strong strummy alt-pop base to it all and it especially gets good on side two. But I think the band really got cluster-effingly great on Red Sails in the Sunset. It takes all the angry, liberal Cold War paranoia to its absolute extreme (just have a look at the cover) and the tunes are there with just about every track. It is very mazelike, as songs will end abruptly and the next song will begin almost immediately, but it's pretty darn seamless and the whole thing hangs together as an entire piece. The subject matter, by nature, is pretty dark and this all comes to head with the first three minutes of 'Jimmy Sharman's Boxers' sounding like something not that far off from the Cure's Pornography. Overall, two really solid albums that I feel like I've really only touched the surface of so far. It will take many more listens for these to fully absorb.

Dire Straits — Dire Straits (1978)

It's been said before, but it's relevant as hell, so why not repeat the same old stuff: Dire Straits, especially on this album, was like a classic folk rock band playing through a post-punk mindset and production philosophy. I mean, to hell with the rest of their catalogue. But, seriously, listen to Mark Knopfler's jangly twangy guitar sound. How can anybody not love the George Harrison-style slide guitar on top of low-key, tunefully wah-wah'd rhythm strums and a nearly ambient sensibility in the atmospherics? Seriously, what is it that makes the sound of this otherwise nice (and, admittedly, refreshing; especially in 1978) roots-rock album so engaging? I guess that's just it: the low-key, genuine and stripped down sound of the production. Maybe it's because Mark Knopfler was nearly thirty by the time he released this album, but he sounds downright past all of the hype. Seriously, is this the band's first or last album? I can't tell. Much like R.E.M., they certainly never made another album quite like it. The riffs are definitely indebted to the blues, but sometimes, like on the rightful standout 'Sultans of Swing,' they take on a weird, angular pattern that clearly betrays the album's origin. Mark Knopfler may have known every Dylan and Robert Johnson lick in the book, but he was (perhaps subconsciously) playing with the punks and their offspring in mind. So, ultimately, this may be the perfect album for people like me: the type who have a short patience for classic rock and the blues as interpreted by 60's/70's rockers, but who also do love to hear that thing when done right and, most of all —and most importantly— love the punk and the new wave philosophy. Because this album certainly has all of that.

Romeo Void — Never Say Never EP (1981)

Basically continuing in the vein of their classic first album It's A Condition. I've always been a big proponent of that album since I first heard it about a decade ago. And, unfortunately, it's somewhat of a (still) lost American post-punk classic. Like the good independent-minded band that they were, they kept on and released this EP the same year as their debut album. It's pretty much a continuation of that album, with a bit more of a sheen in the production. But still, wow at how good these four songs are. Could've taken some of these, switched them out for lesser moments on It's a Condition and had a really stunning album that would've competed with the post-punk goliaths. Instead, I hear it as another swipe at greatness by a band that simply didn't know any better than putting the lyric "I might like you better if we slept together" in their initial shot at the charts (wtf do I know — it's actually their most popular song in hindsight). The other three songs here have that awesomely dreary post-Joy Division dark jangle sound to them, all laced with Ben Bossi's appropriate new wave sax and Deborah Iyall's articulately bleak words on human interaction. The whole thing is great and really makes you appreciate the band as one of the unsung heroes of American post-punk. 415 Records: salute.

~Austin